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Justin Carrig

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  1. I am looking for a super lightweight and lowprofile flag, I suspect this one might just be something custom/diy but I'm not sure: http://variety.com/2015/artisans/production/the-revenant-cinematography-emmanuel-lubezki-1201661435/ Emmanuel is a good search topic for this kind of thing because he loves the lightest possible rig for his handheld. Here is another one with a funny sort of lens hood: Does anyone know what kind of material a hood like this would be made from? I imagine you could just velcro something straight onto the lens. Cheers!
  2. Thanking you all for the great suggestions and info, perfect stuff. :)
  3. Hey guys, I have what is probably a very basic question regarding footcandles/lux. I'd like to know how to calculate required exposure based on a light's given footcandles/lux information using a fixed iso and shutter speed and variable aperture. For example, if I have a digital camera set at 800 ASA and 1/48 shutter and my light puts out 44 footcandles at 6ft, and the light is exactly 6ft from my subject, what aperture is required to properly expose this subject? There is most probably a basic calculator out there, if anyone can point me to one that'd be great. I basically want to know because I have an upcoming project with an option of lights that I will not have experience with before the shoot, so I'd like to know in advance their capabilities. Cheers!
  4. Amazing article for one of my favourite films and a great website, I didn't know of it. Thanks Alan.
  5. Hitchcock and probably others started with the idea that the size of objects/people in frame should be directly related to their importance in the story at that particular moment. You could start with that simple idea when you work out each scene, what are you trying to communicate? Does the beautiful sunset and the mountains in the background really help communicate the story or is it completely distracting from the characters development. I think it helps to use your imagination to feel the emotions and movements you want. Picture if you were seeing this image you're about to shoot in the pieced together scene and how it would make you feel and think and then you could bounce ideas from there on how to achieve something better if you need to. As a sort of training you could read scripted scenes, imagine how you would shoot it, then watch the scene as it was actually shot in the final picture and see how close you got, and think about where you were different, and why. You may have done it better yourself, but maybe you'll also see how some finer details you missed have a huge effect on the emotional impact of the final scene and then those details and techniques and choices would sink in like new tools for your own storytelling
  6. Haha wow. That's like saying "I may as well never look up at the stars again, because I'm never going to fly amongst them." Let's take no interest in anything that is beautiful if we can't create it ourselves?
  7. Your attitude is a bit annoying Bowie! David's example is perfect.
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